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Reviews of This Artist Rezension für: Martin Neu Bach and the North German Tradition Vol. I Dietrich Buxtehude | Georg Böhm | Johann Sebastian Bach SACD aud 92.547 Nordbayerische Nachrichten 18. März 2010 (Matthias Kronau - 2010.03.18) Norddeutsche Tradition aus Herzogenaurach Eine neue Orgel-CD lässt die Ahrend-Orgel in St. Otto weltweit erklingen Norddeutsche Tradition aus Herzogenaurach Full review text restrained for copyright reasons. Falter Woche 12/2010 vom 24.3.2010 (Seite 24) (Carsten Fastner - 2010.03.24) Bach für Kenner, Liebhaber und Entdecker Bach für Kenner, Liebhaber und Entdecker Full review text restrained for copyright reasons. Fono Forum Mai 2012 (Friedrich Sprondel - 2012.05.01) Wege zu Bach Bach nahm so viele Einflüsse in seine Orgelmusik auf, dass sich einem neugierigen Interpreten viele Wege zu ihm auftun – und manche Aufnahme zeigt, dass auch noch neue zu begehen sind. Die Britin Margaret Philips bringt ihre Bach-Gesamteinspielung in Doppelfolgen heraus; jede Scheibe ist dabei einem prominenten Instrument gewidmet. In Folge sechs ist das, neben der neuen Aubertin-Orgel der Pariser Kirche St Louis en I' Île, die legendäre Müller-Orgel der Bavokerk in Haarlem; Folge sieben wurde an der Hildebrandt-Orgel von 1728 in Sangerhausen und an der grandiosen Silbermann-Orgel der Freiberger Petrikirche aufgezeichnet. Philips spielt tadellos und mit sicherem Geschmack in Tempo und Registerwahl. Interessant ist, welche der großen Orgelwerke sie welchem Instrument zuweist. So erklingen in Folge sechs die großen Präludien und Fugen in e- und h-Moll BWV 548 und BWV 544 an der monumentalen Haarlemer Orgel, Fantasie und Fuge g-Moll BWV 542 und die frühe Toccata E-Dur BWV 566 am eleganten Aubertin-Instrument; Folge VII bringt das lebhafte G-Dur-Werkpaar BWV 541 und das "Grossomogul"-Concerto nach Vivaldi an der farbenfrohen Sangerhauser Orgel, und dem 32-Fuß-Klang in page 1 / 22 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de Freiberg vertraut Philips die beiden großen c-Moll-Zyklen an, Präludium und Fuge BWV 546 und die Passacaglia. Möglicherweise lassen sich die Instrumente tontechnisch noch charakteristischer abbilden; in puncto Stilistik und Lebendigkeit macht Margaret Philips aber keiner etwas vor. Das kann auch für den Leipziger Thomasorganist Ullrich Böhme gelten. Zuletzt hat er sich die großen Orgelchoräle vorgenommen, die Bach in seinen späten Leipziger Jahren in einer Sammelhandschrift zusammenfasste. Jedem Choral stellt Böhme einen Bach'schen Choralsatz voran, gespielt auf der kleinen Hildebrandt-Orgel von 1723 in Störmthal, einem kraftvoll-herben Instrument, das Bach bekannt war. Den jeweiligen Orgelchoral – oder die zugehörige Werkgruppe – spielt Böhme dann auf der großen "Bachorgel" der Leipziger Thomaskirche, die Gerald Woehl im Bachjahr 2000 fertigstellte. Beide Instrumente wurden mit vorteilhafter Direktheit aufgenommen und die farbenreiche, klangmächtige neue Orgel kann neben der charakterstarken alten gut bestehen. Ein Vergnügen aber ist, zu erleben, wie die "Bachorgel" den Thomasorganisten offenbar inspiriert. Er artikuliert und registriert, bei straffen Tempi und absoluter Klarheit, mit umwerfender Spielfreude. Die höchst anspruchsvolle Sammlung wird in ihrem stilistischen Reichtum unmittelbar erlebbar: als packende Musik. Martin Neu möchte in seinen beiden Einspielungen Bach aus der Perspektive der nord- und süddeutschen Orgelkunst des 17. Jahrhunderts sichtbar machen. Er hat sich stilistisch adäquate Instrumente ausgesucht: Die Ahrend-Orgel in Herzogenaurach überzeugt mit warm-artikuliertem Klang und gibt dem norddeutschen Repertoire – hier beschränkt auf Bachs unmittelbare Bekanntschaften Böhm und Buxtehude – lebhafte Farbigkeit; beim süddeutschen – Kerll, Muffat, Froberger und Pachelbel – nutzt Neu die intensiv strahlende Metzler-Orgel in Obertürkheim für Pedaliter-Kompositionen, die Bernauer-Orgel in Laufenburg von 1776 mit ihrem satt-obertönigen Klang für die Manualiter-Musik. Hörbar inspiriert vom lebendigen Klang der Instrumente, spielt Neu stilistisch angemessen, übertreibt weder Tempi noch Artikulation und registriert oft betont schlicht, aber dank charaktervoller Einzelstimmen musikalisch sehr ergiebig. Die suggerierte Abhängigkeit begründet Neu im Booklet-Text einleuchtend; doch wird vor allem deutlich, wie stark Bach das Aufgenommene jeweils um- und sich anverwandelte. Carsten Wiebusch geht einen Schritt weiter, indem er sich vornimmt, Bach gleichsam durch die Ohren eines anderen zu präsentieren: Er hält sich an die Ausgaben, die der Brahms-Zeitgenosse William Thomas Best mit Spielanweisungen für den modernen Konzertorganisten und seine technisch fortgeschrittene Orgel versehen hatte. Wiebusch präsentiert damit jene Klangressourcen, die die Klais-Orgel der Karlsruher Christuskirche hinzugewann, als sie kürzlich renoviert wurde. Dabei wurde die schlanke Sechziger-Jahre-Disposition um romantische Farben erweitert, die sich in der gelungenen Aufnahme durch große Intensität nachdrücklich bemerkbar machen. Schärfe und Fülle zusammen ergeben eine expressive Klangpalette, die Wiebusch nutzt, um den Best'schen Interpretationen dramatisches Profil zu verleihen – auch den Überraschungen, die in pièces de résistance wie der Passacaglia und der d-Moll-Toccata auf den Hörer warten. Dabei spielt Wiebusch selber überaus charakteristisch: Er meidet schwülstiges Romantisieren, artikuliert deutlich und lässt auch über die Tempobeugungen hinweg den rhythmischen Fluss nie abreißen. Wiebuschs Bach holt sich letztlich bei W. T. Best die Lizenz für ein expressiv gesteigertes Bach-Spiel – das als solches zweifellos überzeugt. page 2 / 22 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de www.classicalcdreview.com 01.09.2010 ( - 2010.09.01) Audite's SACD Bach and the North German Tradition is the first volume in a... Full review text restrained for copyright reasons. Gramophone February 2011 (Malcolm Riley - 2011.02.01) Bach and the music that influenced him, played on a fine Bavarian organ Although Bach gets top billing (being alphabetically top of the class), the most pleasurable highlights are the three delightful pieces by Georg Böhm (1661-1733), who Bach got to know between 1700 and 1702 when he attended school in Lüneberg. As a musician of wide musical tastes – informed, no doubt, by a spell working in Hamburg's opera house – Böhm is remembered best for establishing the chorale partita as a fully fledged musical form. Two examples are recorded here, mostly on the manuals alone, with sparing use of the pedals. Böhm's encouragement of Bach manifested itself in a love of elegant dance forms (Lüneberg being celebrated for its love of all things in the French taste), flowing bass-lines and a willingness to experiment. Although it is usually played on the harpsichord, Böhm's Capriccio in D sounds quite at ease on the organ. Bach's early Prelude and Fugue in D is rattled off in a similarly strong, no-nonsense manner. Where Bach excelled, of course, was in the trio sonata. Martin Neu produces a perfectly poised chorale trio on Herr Jesus Christ. Buxtehude's contributions emphasise how indebted Bach was in matters fugal. In Buxtehude's Passacaglia the Ahrend organ's tuning strains somewhat under full load as Neu climbs the steep summit to the crowning final tierce de Picardie. Although this new Bavarian organ has a modest specification on paper, such is the variety of its timbral beauty that the ear never tires. The documentation, recorded sound and playing are all of the first order. www.hbdirect.com ( - 2009.11.30) Bach & The North German Tradition: Böhm, Buxtehude Bach & The North German Tradition: Böhm, Buxtehude Full review text restrained for copyright reasons. Kirchenmusikalische Mitteilungen für das Erzbistum Paderborn 2010/2 (Krane - 2010.07.01) Bach und die norddeutsche Tradition Martin Neu an der Ahrend-Orgel in St. Otto, Herzogenaurach Bach und die norddeutsche Tradition Full review text restrained for copyright reasons. page 3 / 22 »audite« Ludger Böckenhoff • Tel.: +49 (0)5231-870320 • Fax: +49 (0)5231-870321 • [email protected] • www.audite.de Choir & Organ May/June 2010 (Douglas Hollick - 2010.05.01) Organ CDs - Bach and the north german tradition Vol. 1 These discs provide an interesting contrast of playing styles. Kynaston plays the large late 18th-century organ in Amorbach Abbey, with a more recent fourth manual by Klais. Winters plays a new organ in early 18th-century Thuringian style, while Neu plays a new organ by Hendrik Ahrend. Kynaston's recording is reissued from 1994, a fine sound if sometimes lacking in clarity. This is recognisably English playing, and none the worse for that, with a Passacaglia & Fugue starting quietly and with lots of stop changes. Indeed the impression of the disc as a whole is of someone used to using a sequencer! He is at his best musically, and with less fussy registration, in the C minor Fantasia & Fugue (BWV 537) which is given a fine performance. A worthwhile curiosity is Reger's arrangement of Bach's harpsichord Chromatic Fantasia & Fugue, using the full resources of this organ to great effect. Winters is more period-style conscious, but often in a highly mannered and sometimes rhythmically disorganised way. The organ sounds gorgeous, but apart from one chorale prelude and the principal choruses of the preludes and fugues his registrations never get beyond 8ft and 4ft, leaving one wishing for more colour. The Vivaldi-Bach D minor Concerto is perhaps the
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